When Nick Eliot (Cary Elwes) moves into the Forrester's garage apartment, he gets a lot more than a place to sleep. His place is a room with a view of the Forrester's fourteen-year old daughter, Darian (Alicia Silverstone). Nick is 28 but cannot help himself from becoming a little attracted by Darian's seductive ways. Darian, on the other hand, falls "madly" in love, and we quickly realize that she will do anything to make Nick love her. For example, when Nick starts to see a woman his own age, Darian stages an accident for the woman. When Darian's best friend threatens to tell Nick about her, she again plans a dangerous accident to keep her from telling. And when Nick himself confronts Darian, Darian pretends innocence both towards him and towards her parents. Nick's life spins further out of control as Darian accuses Nick of rape, an accusation that everyone concerned seems to believe. THE CRUSH plods predictably along with all the now stereotypical twists of a Fatal Attraction. There is nothing new, nothing good, nothing gained by spending your money to see THE CRUSH.

The language and sexual relationships are kept to a minimum considering the film's R rating. What makes this movie particularly distressing is how it focuses on young Darian as a sex symbol. She is only fourteen years old but we see her several times in a bikini, striking suggestive poses for Nick many times. The movie blurs the distinction between Darian as a girl and a woman. Though fitting, it seems to overexpose her womanly side. This movie also continues the recent trend of featuring women who are violently stronger than men. THE CRUSH provides more than current-day commentary in the two scenes of full rear nudity, male and female respectively, and in the violent scenes. Nick is hit repeatedly with a bat and almost strangled by Darian's father. He also falls down the stairwell, but is not shown hitting the ground. Darian is hit once, very hard, by Nick. Finally, the language makes its ubiquitous presence felt with many obscenities and profanities. THE CRUSH collapses under its own offensiveness.